Babies are so different month to month. There are babies who cannot hold up their necks without an adult, who lie down on the ground, who can just sit, who can creep, who can crawl, who can walk, and so on…. It is necessary to grasp age variations and the number of babies in advance and to grasp where they are and how they are all the time while performing from the minute a performance has begun.

 

It is important to keep in mind that babies can have richer experiences through choice.

 

Even if choreography is made, it doesn’t mean anything if it doesn’t reach the babies.

Therefore, it is necessary that the choreography is flexible to improvise within the frame of theme and to change accordingly.

 

For babies who are lying and who are held in arms, the acting area is limited in terms of their perspectives. And for babies who are sitting, the acting area can be wider.

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Also, we need to perform, thinking about which part of the body and which movement reaches more effectively, measuring the distance with babies, as we perform. 

 

Furthermore, each performer needs to be aware of other performers; where they are, whom they are performing to, and what they are performing. A performer shall not replicate the actions of another performer when they meet with a baby who has previously seen those actions, as they may grow bored or agitated.

 

In order for babies to have richer performance experiences, it is necessary that the performers act with different textures, rhythms, and parts of the bodies as much as possible.

 

The more diverse a performer’s skill, improvisation, and expression can be, the more valuable a baby’s experience of Baby Theatre will be; therefore, it is mandatory that a performer always polish their skills.

 

What in a performance draws the baby’s attention? Fake acting is boring for babies!

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First, it is important to catch the baby’s eyes. And when you catch their attention, it is time to go!

When you draw a baby’s attention, the performance is most effective.

As long as a baby pays attention, a performer also needs to be attentive to the baby (They may not see the baby but should be physically attentive).

 

In order for babies to watch a performance as long as possible by keeping their attention, it is important to change the parts of the body that express, the speed of movements, the distance from babies, and background sceneries, and to use objects.

 

Keeping aware of positions and conditions of babies, other performers, and adult spectators, a performer needs to be attentive to spectators in front of you, the sound, and the space and to keep the sensational impulse that is the motivational force of the performance.

 

A baby pays attention to the person in front of them as they pay attention to the baby. A performer should be straightforward and sincere. A baby sees through fake acting and loses interest. 

 

It is important for a performer to be interested in the world, to open the heart with a broad perspective, and to perform with the body that is honest to their sensation in front of babies all the time.

 

 And that is the way that an adult faces the world and others, which we would like to share with babies.